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拍品專文
"The most characteristic single feature of Evans' work is its purity, or even its puritanism. It is 'straight' photography not only in technique but in the rigorous directness of its way of looking."
(Lincoln Kirstein, American Photographs, p. 197.)
Evans enjoyed a strong affinity for signage and other elements of popular culture. The vernacular appears throughout his work from his earliest records of New York in the 1920s to 1930s subway advertisements and postcard displays in Florida to some of his last work in SX-70 Polaroid capturing fragments of signs and roadside debris. Driven by his interest in the formal qualities of design, the juxtaposition of image and text, it is easy to understand his lifelong attraction to the objects of everyday.
Known for often cropping his images both with the camera and later in the darkroom, Evans in some instances would permanently crop a negative to his liking or in other cases might simply trim the print before mounting. There were at least two negatives of Shoeshine sign made. One captures not only the sign but its surroundings including a bicycle resting in the foreground and a man standing to the left. The success of the image offered here comes with his innate ability to edit and abstract. Reduced to its most basic, Shoeshine sign, becomes a flattened space, an unsentimental composition, the roughly hewn, handpainted sign naturally framed by the railing in the foreground.
(Lincoln Kirstein, American Photographs, p. 197.)
Evans enjoyed a strong affinity for signage and other elements of popular culture. The vernacular appears throughout his work from his earliest records of New York in the 1920s to 1930s subway advertisements and postcard displays in Florida to some of his last work in SX-70 Polaroid capturing fragments of signs and roadside debris. Driven by his interest in the formal qualities of design, the juxtaposition of image and text, it is easy to understand his lifelong attraction to the objects of everyday.
Known for often cropping his images both with the camera and later in the darkroom, Evans in some instances would permanently crop a negative to his liking or in other cases might simply trim the print before mounting. There were at least two negatives of Shoeshine sign made. One captures not only the sign but its surroundings including a bicycle resting in the foreground and a man standing to the left. The success of the image offered here comes with his innate ability to edit and abstract. Reduced to its most basic, Shoeshine sign, becomes a flattened space, an unsentimental composition, the roughly hewn, handpainted sign naturally framed by the railing in the foreground.